Pan's Labyrinth (Two-Disc Edition)

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The fantasy epic gets a deluxe DVD worth getting lost in.

By Filip Vukcevic and Peter Schorn

It is easy to forget the power of fairy tales. In today's society the genre is more or less strictly confined to stories directed at children. That is a tremendous shame, because if Pan's Labyrinth is a testament to what is possible when fairy tales are taken into the realm of the adult world, the results can be profound, beautiful, and awe-inspiring. The film, which screened at the 2006 Toronto International Film Festival, is all three of these things, and many more.

Part gothic fantasy, part political statement, Guillermo del Toro's masterwork is clearly a labor of love, marrying his interest in the Spanish Civil War with his fascination with fantasy and horror. Del Toro should be very proud of himself; instead of taking this film to a studio, which would have desensitized (and thus gutted) the film, he set out on his own, filming the movie in Spanish and shooting it out of America. The result is one of this year's must-see films.

Pan's Labyrinth tells the story of young Ofelia (played by eleven-year-old Ivana Baquero), a child who is forced to move, along with her pregnant mother, into a massive old millhouse cottage which is nestled deep within a dense forest. This building also happens to house the militaristic Captain Vidal (Sergi Lopez), Ofelia's "father." From the outset it is clear that war is in the air, but none of this concerns Ofelia. She is fascinated with books and the amazing stories that fill them. No sooner has she arrived at the barracks/cottage than she encounters a "fairy" - a stick-like insect that is part dragonfly, part praying mantis, and is as fascinating as it is menacing.

Ofelia's insectoid friend soon reveals that it has shape-changing abilities and takes the shape of a svelte fairy, leading Ofelia on a moon-lit chase deep into the heart of the mysterious garden labyrinth found behind the cottage. Ofelia comes across a sunken grotto in the center of the maze. Within the hole, the little girl encounters Pan (played by longtime monster-man, Doug Jones), a mysterious and magical character who informs her that she is actually the princess of the underworld.

In order to return to her real father and take her place at his side, she must accomplish three tasks, each more dangerous and terrifying than the last. As Ofelia struggles to do as the faun has asked, her world is thrown into a shambles by the warmongering of the brutal fascist Vidal. It is only with courage, faith, and love that Ofelia manages to defeat the monsters, both fantastic and human, which threaten to claim her and her family.

Talk about style. Pan's Labyrinth sports an amazing overall design, from makeup to sets to lighting and camera work. The most remarkable accomplishment is Pan. The faun is simultaneously horrific and alluring; you want to scream and hide from it yet you can't look away. What really sells the character is the way it moves - its facial contortions and the expressive motion of Doug Jones from within the costume brings the character to life in a realistic way that no CG creation has been able to accomplish thus far.

Every single department was firing on all cylinders. The lighting is gorgeous and moist. The sound design (listen to those umbrellas open!) fits perfectly and does an excellent job of fleshing out the world. And Javier Navarrete's score, a haunting lullaby which stands on equal footing with Danny Elfman's most enchanting work, is one of the most crucial pieces of this expertly crafted Faberge egg of a fantasy film.

Little Ivana Baquero - a Latin Dakota Fanning if ever there was one - also deserves to be recognized, as it is her mature and captivating performance which drives the film to higher and higher levels. Del Toro manages to get fantastic performances out of each of his actors, not the least of which is Sergi Lopez's Captain Vidal (who is by far the most horrific monster in the film).

The story is captivating throughout and Del Toro's pacing - not to mention his wonderful scene transitions - elevates the film to a lyrical plateau of beauty and horror. This is not a film for the faint of heart. This comes from the director of Blade 2 and Hellboy, remember. There are multiple scenes of extreme and brutal violence, and there is no shortage of gore. In one scene, a character has his cheek slit open, conforming his visage into a vicious, snarling grin. He stitches the wound, patches it with a cotton bandage, and downs a shot of brandy ... only to have his newly applied bandage stained at first with alcohol, then with blood. The film is full of similarly grotesque moments and is by no means meant for younger audiences.

If there is one failing to Pan's Labyrinth it is that the fantasy world and its creatures are so amazing that you don't want them to leave the screen. While the Civil War plot is compelling, it feels as if it claims nearly two-thirds of the film's runtime. Yes, the rebels are fighting a corrupt regime, and yes, these guys are really bad, but all we really want to see is more of Ofelia and her quest.

As the film finishes and the credits roll, you will feel as if you have woken from a fever-dream. Impressions, emotions, and memories may recede into the mists, but certain, vivid images will refuse to fade away. Ofelia, Pan, and their story burn into the brain.

This is an amazing work of cinema by any estimation, and is by far one of the most original and memorable films in recent memory.